Luc Besson’s return to directing in The Family 2013 promised a comedic take on the mafia genre, starring heavyweights like Robert De Niro. The premise is intriguing: a former Mafia member, forced into witness protection with his family after turning informant, must navigate suburban life while trying to keep his past buried. However, what should have been a delightful dark comedy unfortunately devolves into a disappointing cinematic experience. Instead of a sharp, witty film, The Family 2013 fumbles its potential at nearly every turn, resulting in a movie that is neither funny nor particularly engaging.
The fundamental flaw of The Family 2013 lies in its comedic execution. The humor feels forced and falls flat. The screenplay’s attempts at generating laughs from a former mobster’s culture clash in a quiet town are weak and uninspired. For instance, the supposed comedic high point of De Niro’s character complaining about cloudy tap water exemplifies the film’s shallow approach to humor. Furthermore, the attempts at “fantasy violence” integrated into comedic scenarios are jarring and unfunny, failing to land the intended satirical punches.
Alt text: Movie poster for The Family 2013 featuring Robert De Niro and Michelle Pfeiffer, highlighting the film’s comedic crime genre.
The film’s shortcomings extend beyond its ineffective comedy. Subplots involving the wife (Michelle Pfeiffer), daughter (Dianna Agron), and son (John D’Leo) feel underdeveloped and contribute little to the overall narrative. The daughter’s subplot, centered around a relationship with a teacher, is particularly unengaging and feels like filler. Even the dynamic between De Niro and Tommy Lee Jones, who plays his FBI handler, is surprisingly dull. The film fails to capitalize on the combined talent of these acting powerhouses, leaving their scenes feeling lifeless and uninspired.
While the performances are generally adequate, the sheer talent assembled suggests a much higher potential that remains untapped. De Niro, known for his comedic prowess, is constrained by a script that offers his character little to do beyond stereotypical mobster reactions. Dianna Agron, as the daughter, arguably delivers the most compelling performance amidst the lackluster material. Interestingly, The Family 2013 only finds a spark of energy when it shifts gears in its final act, transitioning into a violent thriller. This shift in tone, while showcasing some stylistic direction, underscores the film’s unevenness. Had this level of energy and focus been applied to the comedic elements, the outcome might have been significantly different.
In conclusion, The Family 2013 is ultimately a cinematic misfire. Its attempt to blend comedy and crime falls apart due to a weak script and uneven direction. Despite the presence of a stellar cast, the film fails to deliver on its comedic promise, resulting in a messy and unsatisfying experience. The late turn to thriller elements offers a brief respite, but it’s too little, too late to rescue The Family 2013 from being a complete disappointment.
